Film review: The Monk

@ The Filmhouse

Seventeenth century Madrid and a baby is left on the doorstep of a monastery. There he is raised and becomes a celebrity of sorts as his fervent sermons captivate the townsfolk. The arrival of a creepy, mask-wearing young ward marks the beginning of the end for our fated protagonist in this adaptation of the gothic classic.

There are shortcomings with The Monk. The lengthy source-story necessitates a quickly-spilling narrative for its film counterpart that may not sweep you along with it. Viewers are confronted with black magic, religious fervour, complex relationships and an oedipal struggle in the midst of Ambrosio’s Faustian downfall. The execution of the supernatural errs on the side of clunky and anti-climactic but it’s not a deal breaker. To enjoy The Monk you must surrender to the gothic and embrace the themes, rather than scrambling to bring logic – and at times pace - to the plot.

Where the film does succeed is in establishing itself as a truly gothic thriller. It roughly and uncomfortably reflects the worst ideas we have of ourselves from the off; the disturbing opening depicts a man confessing to repeatedly raping his young niece while Ambrosio listens, emotionlessly offering avenues of redemption.

Our abhorrence never really shifts and while Ambrosio’s faith at first seems unshakeable, the audience is never comforted by his resolve. The film unashamedly presents the best and worst of religious fervour, from examining the consequences of blind faith to suddenly shifting to highly-respected members of the Catholic Church who display an astonishing capacity for cruelty.

Mood lighting of damp stairways, bare bed chambers and the nun’s quarters is carefully crafted to reflect the dark loneliness experienced by the characters. There’s intensity to the scenes depicting the faces of desperate prisoners gazing through small rusty gaps in their black cells. The film consistently frames each scene beautifully and while some of the camerawork may seem outdated – such as the fading in and out – for the most part it communicates, in true gothic fashion, the beauty and history of the monastery and the monsters that emerge from within.

There are horror elements at play here too, particularly in the character of Valerio whose omnipresence and stark appearance creates an unyielding sense of anxiety. Cassel’s portrayal of Ambrosio is nuanced and understated, making his fall from grace all the more watchable and curious and we are left pitying him in his final moments.

The Monk is a grim tale. Perhaps the foreignness of the film, both in characters and setting, makes it hard to experience as a morality tale for our generation. Perhaps not. The joy of the Monk is the extremity of its message. It’s stark, unapologetic, well-acted and chilling, firmly earning its gothic status.

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